Archive for the ‘Sigfreid Barros Sanchez’ Tag

It’s the time of the year! By September, the Film Academy of the Philippines will submit one movie to the Academy of Motion Pictures, Arts, and Sciences (AMPAS) that will be our bid to the Best Foreign Language Film category at the 89th Academy Awards. This will be our 28th participating year and we are yet to receive a nomination.

To qualify as an eligible submission, the Academy’s rule states that “The motion picture must be first released in the country submitting it no earlier than October 1, 2015, and no later than September 30, 2016, and be first publicly exhibited for at least seven consecutive days in a commercial motion picture theater for the profit of the producer and exhibitor.”

Currently nine countries have already announced their submissions with our likely winner, Germany’s Toni Erdmann, in the longlist already. So which film will be our best bet to advance forward? I’ve divided them in three different categories.

DISCLAIMER: It has to be cleared that this ISN’T the final shortlist from the Film Academy of the Philippines yet, and are just mere speculations and recommendations.

Amidst conflict between the military and communists, three people are confronted with a difficult dilemma.

Jun Lana, no stranger from Oscar representative (he directed our 2012 submission Bwakaw), is in contention yet again for his latest effort which is a one-long two-hour take staged just like a play with only three characters interacting all throughout the movie. The film also has participated alongside many different international festivals both in Asia and Europe (though none in the Big 4 major film festivals). That said, the film is unanimously considered as one of the best from 2015 among local critics.

Felix Ysagun Manalo is a sprawling historical epic that traces the origin of Iglesia Ni Cristo (The Church of Christ) which is established in the Philippines from its humble beginnings in 1914 through the present day.

Definitely one of the most divisive films of last year, Felix Manalo is epic in its landscape detailing one of the most important personalities among Iglesia ni Cristo’s history. This almost three-hour movie boasts so much of its lavish production design and staging, that it would tick all boxes in an “baity Oscar film” checklist. But beyond the grandeur is a straightforward storytelling, and one that was considered as “weak” and “safe” by most critics. That said, never underestimate the taste of the FAP to include this in the shortlist, as they’re one easily swayed by buzz regardless if those were organic or fabricated.

In the midst of revolution, a young poet and the man that ruined his life travel through the jungle in search of safety. At the same time, a grieving widow encounters mystical beings on a mountain while searching for the body of her beloved revolutionary.

Winner of the Alfred Bauer Prize at the Berlin Film Festival earlier this year (with jury president Meryl Streep awarding them), there’s no doubt that this is one of the two most-buzzed films we have in world cinema for this year. Imagine if we submitted this and have Oscar winner Meryl Streep and Oscar nominee Clive Owen campaign this right? But let’s not get ahead of ourselves as that’s a bit of a reaching. The thing with Hele is that we have already attempted to submit a Diaz film back in 2014 via Norte which is half the running time of this one and arguably his most universal effort thus far, and yet the Academy didn’t give in to it.

A family is caught in a financial ruin after being involved in a ponzi scheme.

With an Erik Matti film in contention yet again, it reminds me of probably the biggest miss we had not submitting On the Job back in 2013. What made that more infuriating was the committee’s response that they don’t want to submit a film that shows a negative image of the Philippines. Yeah, right. Anyway, Matti is back again this time with the MMFF entry Honor Thy Father which made its premiere a year ago at the Toronto International Film Festival. Honor‘s best shot is that I can see the film appealing to the Western crowd with its theme and execution. That said, the film feels bit of an after thought by now, but with every controversy that the film has encountered, it just ended up soaring higher. Maybe, FAP atones to Erik Matti this time around?

In 16th Century Spain, a soldier born of nobility gives his life of luxury to become a pilgrim devoted to God and his people.

Watch out Felix Manalo, there’s another religious biography in contention. Kidding aside, I can already imagine the FAP members creaming themselves over this one. For one, the casting of a foreign star in lead role will make them think it can add extra buzz to our own entry (this isn’t an Oscar rule after all. Lots of foreign actors starred in films from other countries which ended up as submissions. Case in point: French star Emmanuelle Riva in Austria’s Amour, Mexican actor Gael Garcia Bernal in Chilean film No, and even our own Angeli Bayani in Sinagpore’s Ilo-ilo). Plus, the religious theme somehow gives it more importance and a “good image” per se in representing the country (which apparently is an unwritten rule; see: On the Job again in 2013).

A poor family scrambles to find the money to pay off the corrupt policemen that have arrested the parents for dealing drugs.

Sure it was one of the least buzzed entries at Cannes main competition this year, until the great Jaclyn Jose earned the coveted Best Actress win and the rest, as they say, is history. Ma’Rosa is currently participating now at Toronto International Film Festival and I think it has the most buzz for any Filipino film competing for this year when it comes to foreign exposure. And at this stage, after all his trips to Cannes and Berlin and Venice and TIFF, isn’t Brillante Mendoza overdue for a Filipino Oscar submission? I lobbied that Taklub was our best shot last year, but they can make up for it with Ma’Rosa this year.

Jane and Aries are teenage parents. They make a living out of stealing on the streets… until fate hits back at them.

After sweeping major awards at the recently concluded Cinemalaya Independent Film Festival including wins for Best Picture, Best Director for Eduardo Roy Jr., and Best Actress for newcomer Hasmine Killip, this runaway favorite is getting an instant cinema release in time for the Oscar cutoff. Add the fact that it’s also heading to Venice under the “Venice Days” sidebar (think of it as their answer to Cannes’ Directors Fortnight section), and it’s on the right track. This also has the makings to appeal to an international audience,

POTENTIAL SHORTLIST MENTIONS:

Don’t be surprised to see any of these films in this group make it in the final shortlist.

With Paul Soriano helming it (one of the producers of our 2013 Oscar submission “Transit“), this suspense drama about an abducted son also brags of an ensemble composed of some of the biggest names in the country both newbies and veterans.

In the tradition of our love for hero films — some of which are deserved (last year’s Heneral Luna), some of which are good (Supremo), and some which are just flat out terrible (El Presidente), let’s say hello to Hermano Puli.

Only because of its serious topical theme (with them even doing special screening this National Heroes Day), I can see this political themed film making a (not so) surprise appearance in the shortlist. Think of how Kamkam by Joel Lamangan made it to the Top 4 in 2014.

We have that one slot, almost always reserved to those box office hits that tackle more serious topics than the usual. Not to say that they aren’t deserving since most of them actually are, but they happen to end up in the shortlist. Examples include 2008’s Caregiver, or 2010’s Sa’yo Lamang, maybe even last year’s That Thing Called Tadhana can somewhat be considered.

As for starters, the producers of this film were also the producers of our previous submission Heneral Luna, so if anything, they;d sure be willing to campaign. This film got good to great reviews with solid performances from the leads, but if you compare it to other entries, it’s a tad low-key (in terms of buzz and not of film quality). And if it’s already low-key here, can you imagine how it would fare to the foreign market?

For an MMFF film, this one got solid reviews and even swept the Gabi ng Parangal of last year. This is also from the Dan Villegas and Jennylyn Mercado team-up, which reminds us that English Only Please, was part of the short-list that year.

ELIGIBILITY ISSUES:

So these movies have appeared in different indie film festivals but haven’t fulfilled the seven-day commercial distribution yet. This does not mean that these movies are bad obviously they’re not because there have been buzz for some of them to be submitted. Well, they still have the whole month of September to book a screening if they plan to be considered eligible. Or they can wait for next year instead. For what it’s worth, some films who made it in the shortlist the previous years aren’t from the same year where they participated in festivals. As for examples, the 2008 Cinemalaya film Boses only got a commercial screening in 2012, and thus was included in the shortlist for the 2012 Oscars. Same goes for Ian Lorenos’ Alagwa which gave Jericho Rosales his Urian in 2012 but was in the 2014 shortlist.

FINAL VERDICT:

For this year, I think we can trim it down to three films which would all be decent submissions by any means. For starters, there’s the John Lloyd starrer Hele sa Hiwagang Hapis with its Berlin victory, but is simply hindered by the 8-hr running time. Not that Lav Diaz needs Oscars anyway to validate his impressive work; it’s just that sometimes the Academy just doesn’t fit into a certain director’s style. Then there’s the other John Lloyd starrer Honor Thy Father, which I can see a scenario with it connecting to a foreign audience, if they’re gonna push it hard and run aggressive with it. That’s a big if, by the way. In the end, maybe Jaclyn Jose’s Cannes win can also be Brillante Mendoza’s first RP submission to the Academy. It’s doing its assignment by participating in TIFF and its Cannes win, but us submitting a Mendoza film for once won’t do us any harm, regardless of the end result if it gets in or not.